Ricochet is a bilingual collection of word sonnets by one of the chief innovators of the form, Seymour Mayne. It includes three sequences of pithy and evocative poems that encapsulate moments of sharp perception while also drawing attention to instants of humour that suddenly appear in daily life.
Concise and visual in effect, word sonnets are fourteen line poems, with one word per line. Frequently allusive and imagistic, they can also be irreverent and playful. While informed by other short poetry forms such as the Haiku, Mayne’s word sonnets are deeply influenced by the Talmudic tradition of maxims, proverbs and images that instruct and inform everyday life.
Presented with an excellent translation of the poems into French, Ricochet is a unique volume that showcases this innovative new form. The collection also includes a short preface by the poet and an introductory essay by the translator on the challenges of translating word sonnets.
This is an A5 perfect bound book of word sonnets. Poets for about the last 20-30 years in the UK have produced word sonnets and it has proved to be a very restricting form. It is extremely difficult to produce outstanding word sonnets, worthy of re-reading, as they tend to end up being one or two sentences written vertically with a line count of 14 with the 'so what' factor. Some do have more than one word to a line, but Mayne's word sonnets all have one word to the line as can be seen in DECEMBER FLIGHT:
This word sonnet builds a laudable image. Nature is predominant in Seymour Mayne's word sonnets, as is a sense of spirituality, which is not commonly achieved in this form. JUNE HEAT sets a nature scene and focuses on light:
Doreen King, New Hope International Review
As it frequently is throughout this collection, the tone is wry. Indeed, the dry humour and colloquial language of several poems contrast forcefully the tone’s more frequent seriousness. The collection ricochets between the two attitudes much as the English originals hit up against the French translations, interrupting the smooth flow of the sequences. The strong attention to and repetition of sound, as well as the—as the translator Sabine Huynh puts it— “daunting challenge of translating fourteen English words into exactly fourteen French words” makes Ricochet an interesting collection to publish bilingually (xxiii). Yet, the thematic interest in language—with issues of words, poetry, and communication as frequently explored as images of nature— makes Ricochet a fitting investigation into the elements of poetry and their potentials for rearticulation.
Dale Tracy, The Bull Calf - REVIEWS OF FICTION, POETRY, AND LITERARY CRITICISM, 10/24/2016
Seymour Mayne a écrit, édité ou traduit plus de cinquante volumes et monographies. Ses écrits ont été traduits en plusieurs langues, dont le français, l’allemand, l’hébreu, le polonais, le russe et l’espagnol. Ses dernières publications comprennent Light Industry (Mosaic Press, 2000), Ricochet: Word Sonnets (Mosaic Press, 2004), September Rain (Mosaic Press, 2005); et Les pluies de septembre : poèmes choisis, traduit de l’anglais par Pierre DesRuisseaux (Éditions du Noroît, 2008). Il est professeur de littérature, de création littéraire et d’études canadiennes à l’Université d’Ottawa.
Wildly funny and wonderfully moving, Bad Ideas is about just that — a string of bad ideas — and the absurdity of love
Trudy works nights in a linen factory, avoiding romance and sharing the care of her four-year-old niece with Trudy’s mother, Claire. Claire still pines for Trudy’s father, a St. Lawrence Seaway construction worker who left her twenty years ago. Claire believes in true love. Trudy does not. She’s keeping herself to herself. But when Jules Tremblay, aspiring daredevil, walks into the Jubilee restaurant, Trudy’s a goner.
Loosely inspired by Ken “the Crazy Canuck” Carter’s attempt to jump the St. Lawrence River in a rocket car, and set in a 1970s hollowed-out town in eastern Ontario, Bad Ideas paints an indelible portrait of people on the forgotten fringes of life. Witty and wise, this is a novel that will stay with you a long time.
“This novel of working class women and the men they let into their lives is like a small town: both tough and soft. These strong, funny, and intense characters have unique and deep-seated ideas about love and family, have dreams that are big enough. Marston writes with love and verve. In Bad Ideas people take life as it comes, and think those bad ideas are probably going to play out just fine.” — Dina Del Bucchia, author of Don't Tell Me What to Do
“I’d follow Missy Marston’s writing anywhere, even off an ill-conceived launch ramp across the St. Lawrence River in a rocket-car. In Bad Ideas, she tells a story with hard edges, humour, and so much tenderness, affirming her place as one of Canada's funniest and original writers.” — Kerry Clare, author of Mitzi Bytes
“An astonishing, funny, and beautiful book. It’s full of terrible, lovable, broken people doing their best to find happiness wherever they can — in fast cars, booze, or in the arms of the right-but-wrong person. It's about the parts of ourselves that remain underwater in the murk and the bits we choose to showcase. It’s about what it means to love the wrong people — the broke stunt driver, the married man, the absent mother. Always illuminating and never sentimental, Bad Ideas is an honest look at what it means to dream big in a small town. Oh, and there’s a surprise ending that’s absolutely glorious.” — New York Times bestselling author Jennifer McCartney
“An unusual story of both familial and romantic love, the strange dreams humans have, and the cost and benefits of loyalty.” — Kirkus Reviews
Swinging the Maelstrom is the story of a musician enduring existence in the Bellevue psychiatric hospital in New York. Written during his happiest and most fruitful years, this novella reveals the deep healing influence that the idyllic retreat at Dollarton had on Lowry.
This long-overdue scholarly edition will allow scholars to engage in a genetic study of the text and reconstruct, step by step, the creative process that developed from a rather pessimistic and misanthropic vision of the world as a madhouse (The Last Address, 1936), via the apocalyptic metaphors of a world on the brink of Armageddon (The Last Address, 1939), to a world that, in spite of all its troubles, leaves room for self-irony and humanistic concern (Swinging the Maelstrom,1942–1944).
- This book is published in English.
Yoko Tawada's Portrait of a Tongue: An Experimental Translation by Chantal Wright is a hybrid text, innovatively combining literary criticism, experimental translation, and scholarly commentary. This work centres on a German-language prose text by Yoko Tawada entitled ‘Portrait of a Tongue’ [‘Porträt einer Zunge’, 2002]. Yoko Tawada is a native speaker of Japanese who learned German as an adult.
Portrait of a Tongue is a portrait of a German woman—referred to only as P—who has lived in the United States for many years and whose German has become inflected by English. The text is the first-person narrator’s declaration of love for P and for her language, a ‘thinking-out-loud’ about language(s), and a self-reflexive commentary.
Chantal Wright offers a critical response and a new approach to the translation process by interweaving Tawada’s text and the translator’s dialogue, creating a side-by-side reading experience that encourages the reader to move seamlessly between the two parts. Chantal Wright’s technique models what happens when translators read and responds to calls within Translation Studies for translators to claim visibility, to practice “thick translation”, and to develop their own creative voices. This experimental translation addresses a readership within the academic disciplines of Translation Studies, Germanic Studies, and related fields.
- This book is published in English.
Des réflexions sur des sujets essentiels, notamment
la politique – car pendant de longues années,
Maurice Henrie a travaillé à l’ombre des parlementaires
fédéraux –, des questions d’ordre littéraire et des
sujets de nature socioéconomique.
Ici, la plume est au service de la libre pensée, sans
censure. Elle aborde une foule de sujets dans des
textes regroupés selon leur appartenance et leur
orientation. Du côté de la politique, par exemple,
Henrie explore l’affinité entre le député et ses électeurs,
le régime traditionnel des poids et des contrepoids
dans les débats en Chambre, et les vicissitudes qui
accompagnent tout gouvernement au pouvoir. Côté
littérature, il évoque le mystère des succès littéraires,
les malentendus de bon aloi qui dominent la littérature
et les misères de l’écrit dans un monde où dominent
l’électronique et l’informatique.
Découvrez la version livre audio de ce titre, lu
en version intégrale par Étienne Panet-Raymond.
Maurice Henrie à n’en pas douter est
un fin observateur des mœurs de ses contemporains, comme entre son temps Michel
de Montaigne. Il nous livre le fruit de ses méditations dans un petit opuscule Le poids du temps qui traite de mille choses,
allant de sujets aussi diversifiés que la pluie qui tombe sans cesse au Québec,
de la facilité des spermatozoïdes à se frayer un chemin, que de notre rapport
amour-haine avec les États-Unis. On savoure chaque ligne. Le seul défaut que
l’on puisse trouver c’est que c’est beaucoup trop court. On en voudrait cinq
cent pages comme ça. Vite au travail cher philosophe pour la suite de vos
Je vous invite à lire Le poids du temps, un carnet où Maurice Henrie démontre qu’il est charmant libre penseur, probablement le seul en Ontario français.
Maurice Henrie serait-il le Montaigne ou le Pascal de l’Ontario français?
Mettant en mots diverses observations sur une multitude de sujets, l’auteur dresse un portrait impressionnant de l’influence exercée par le temps sur sa pensée.
In Ballast to the White Sea is Malcolm Lowry’s most ambitious work of the mid-1930s. Inspired by his life experience, the novel recounts the story of a Cambridge undergraduate who aspires to be a writer but has come to believe that both his book and, in a sense, his life have already been “written.” After a fire broke out in Lowry’s squatter’s shack, all that remained of In Ballast to the White Sea were a few sheets of paper. Only decades after Lowry’s death did it become known that his first wife, Jan Gabrial, still had a typescript. This scholarly edition presents, for the first time, the once-lost novel. Patrick McCarthy’s critical introduction offers insight into Lowry’s sense of himself while Chris Ackerley’s extensive annotations provide important information about Lowry’s life and art in an edition that will captivate readers and scholars alike.
“Under the Volcano follow-up In Ballast to the White Sea typed up from copy after manuscript was burned in a fire…The book was launched this weekend at The Bluecoat arts centre in Liverpool. Artistic director Bryan Biggs said it “provides the missing link between Lowry’s first, somewhat immature novel, Ultramarine, written while he was still a student, and his acknowledged masterpiece, Under the Volcano.”
– Alison Flood, “ ‘Lost’ Malcolm Lowry novel published for the first time,” The Guardian, October 26, 2014
Also articles in the UK News (October 29, 2014), LA Times (October 30, 2014); NPR (October 30, 2014);
“What does In Ballast have that you don’t get elsewhere in Lowry? There is more dense, original, expressive writing, those primary transcriptions of reality that Lowry always – when he allowed himself – shone at. (…) Gorgeous, rhapsodic sentences, many of them turning on placenames (…) a kindly ability to incorporate impressions, references, knowledge (…) A shift of focus to things that were never central in any of Lowry’s previously published books (…) a masterpiece of doleful sports writing”
– Michael Hofmann, “Set up and put off,” The Times Literary Supplement, April 15, 2015
“In recent years, Canadian modernist literature has been the subject of wide-ranging recovery
projects like Editing Modernism in Canada and the Canadian Writing and Research Collaboratory, many of which have been facilitated by digital platforms. Part of the Canada and the Spanish Civil War sub-series of the University of Ottawa Press’s Canadian Literature Collection, Best Stories is the second literary work brought out in print as part of spanishcivilwar.ca, a more holistic digital archival recovery platform. In addition to the context of Canadian modernist recovery projects, Sharpe’s collection engages in the global recovery of leftist literature. (...) Among Sharpe’s most skillful critical moves is a series of readings that contravene book reviews Garner’s self-construction. By evaluating Garner’s self-fashioning as one of the many texts that constitute Garner’s cultural impact, Sharpe allows the persona and the oeuvre to mutually inform one another. (...) Sharpe suggests that this repetition across fictional and nonfictional forms imbues the writing
with a realism based on the intertextuality within Garner’s written works, particularly in the case of the Spanish Civil War stories. The explanatory notes for the three stories on the Spanish Civil War are some of the most extensive in the collection, speaking to the richness of the stories’ historical context and to the linguistic, cultural, and international experience of the combatants they portray. (...) Sharpe’s edition provides a tidy, if implicit, parallel to Garner’s collection. Sharpe’s edition
fits into broader digital and print publications, draws together multiple critical contexts, and
features a writer whose work appeared primarily in Canadian venues. Thanks to Sharpe’s editorial treatment, Garner’s “multimedia production” across print, film, and radio spans outwards from the print instance of the stories; the multiplicity of international, Canadian, classed, gendered, and radicalized contexts emerge as networked connections across Garner’s short fiction. The connections of Canadian literary production and archival recovery to their international contexts come to light.”
– Emily Christina Murphy, Queen's University, Modernism/Modernity
Cosseted all her life, Lani Moore inherits a fortune, but yearns for a loving family. The chance to grab that arrives when two youngsters talk her into taking a flat in their house. Their father, Ryan, is enchanted by the air of intriguing melancholy about his new tenant. Will Lani’s lonely heart find the love she wants above all else?
A charming country setting, some cheeky kids, two amusing dogs, and a cast of other secondary characters help to build the romantic tension to a crescendo. It’s a pure and gentle romance that will surely please the romance genre purists, along with just about any other romance fan out there.”
A Fit Month for Dying is the third book in M.T. Dohaney's highly praised trilogy about the women of Newfoundland's outports. Fans of The Corrigan Women and To Scatter Stones will embrace this book, while those reading the author for the first time will discover her characteristic bittersweet humour. Tess Corrigan seems to be living the good life. She is a popular politician, the first woman to serve as a Member of the House of Assembly. Her husband Greg is a successful lawyer and son Brendan is a seemingly happy hockey-mad twelve-year-old. Originally from the village of The Cove, the family is now comfortably ensconced in Newfoundland's capital city of St. John's. Urged on by Greg's mother Philomena, Tess sets out to unravel her convoluted family tree. She searches out her natural father who is living in a retirement community, or as he calls it a "raisin farm," in Arizona. Ed Strominski was an American serving at the Argentia Naval Base when he married Tess's mother Carmel. Charming and outgoing, his one flaw was neglecting to reveal the small detail that he already had a wife. The stigma of growing up as the daughter of the abandoned "poor Carmel" has shaped Tess's life.
Involved with her own family problems and with her political work, Tess has no inkling of trouble when Brendan begs her to let him quit the Altar Servers' Association at their St. John's church. Always forthright, Tess insists that he fulfill his responsibilities to the organization. Her decision sets into motion a series of betrayals, revelations, and realizations that change forever her family and the village of The Cove. After a confrontation with the father of one of Brendan's friends, Tess is shattered by the disclosure that her son has been abused by their trusted priest, Father Tom. Shame and grief envelop the family and their world becomes as turbulent as the seas of Newfoundland. Deeply held beliefs are destroyed as the characters begin to challenge long imposed systems of cultural, political, and spiritual authority. But out of the ashes of Tess's life a small phoenix of hope arises in the form of Greg's brother who, on his way to a feed of capelin, reveals to her his own story of abuse and survival. Buoyed by his story, Tess begins to gather strength to rebuild her life, her family, and her faith in human nature.
"Her ear for both spoken and internal dialogue is stunning."
"Dohaney's unfailing ear for dialogue and use of dark humour create characters almost too vibrant to be contained by the page. A Fit Month for Dying — which can be enjoyed without reading the preceding novels — is easily the best of the trilogy. The characters are more deeply themselves, the story moves with its own swift energy, and Dohaney's turns of phrase are more finely calibrated for emotional impact."
Cooltura (Hrsg.) | MB Cooltura
Un humilde leñador descubre por casualidad la cueva donde esconde su botín una peligrosa banda de 40 ladrones. Con la fórmula que abre mágicamente la entrada, Alí Babá ingresa y se lleva parte del tesoro. Al enterarse de la riqueza de su hermano, Karim no resiste la envidia y le exige que comparta su secreto. Comienzan los problemas: Karim también irrumpe en la cueva, pero olvida la fórmula para salir. Los ladrones, enterados de todo lo ocurrido, deciden vengarse de Alí Babá y de su familia. Unos y otros deberán multiplicar su ingenio para salvarse de la muerte.
Cooltura (Hrsg.) | MB Cooltura
Un mago malvado se hace pasar el por tío del joven Aladino y lo convence de internarse en una cueva para buscar una lámpara de aceite. El brujo lo traiciona y Aladino descubre, por casualidad, que no trata de una simple lámpara, ya que adentro vive un genio obligado a cumplir los deseos de quien la posea. Ayudado por la lámpara, el joven se casa con la princesa Badrúl-Budur y viven felices hasta que el malvado brujo reaparece para vengarse. ¿Quién vencerá en esta contienda mágica?